Sunday, March 29, 2009

Ilaiyaraaja : Why should I meet journalists and critics? First if the critics assume that they know music, they can straight evaluate my music and write about it, no one is going to prevent it. If they don't know music, I have nothing to talk to them about. I am not avoiding out of any fear of controversy or anything of that sort. All these critics approach me with a hell of preconceived notions. They literally use me as a mouthpiece to voice their notions about music. Why should I give room for this?

FRONTLINE : What is your view about music?

Ilaiyaraaja : To me, music is nothing but fraud. The moment you play all the seven notes, music is completed. Then going on repeating it - in different permutations and combinations - is nothing short ofcheating. The person who successfully cheats a large audience for an extended period is called the "big"composer. Genuine music, to me,is the one which has no purpose. It should be as natural and aspurposeless as the flow of the river. I have a purpose in creating my music. The purpose is business. SaintThyagaraja sang songs to attain God. So even he had a purpose for his music. At least, he never sold hismusic. But take a farmer for instance. While ploughing, he spurts into a crescendo of music with no purpose. That is true music.

FRONTLINE : Will the vidwans and musicologists agree with your view about music?

Ilaiyaraaja : Please tell me, who are the vidwans and musicologists? Saint Thyagaraaja, who spent his whole life as a wandering singer, sang his heart and soul out. The people who learn 15 krithis of that saintand practise them for their lifetime call themselves vidwans and musicologists. I have listened to all theseliving vidwans. There is always a tone of arrogance mightiness ringing in their voice and style of singing. I amvery sure that Thyagaraja swamigal wouldn't have sung in this manner. His approach must have been themost simple, the most lucid and the most spontaneous. That is missing in the concerts. (Ilaiyaraaja sings akrithi to explain his contention). Therefore, there is no need for me to convince them.

FRONTLINE : Then how do you define music?

Ilaiyaraaja : Music is nothing but sound. There is music in the bark of the dog. There is music in the walk ofevery human being. Music is not a subject to be discussed. It has to be experienced. The universe is onewhich has its own rhythm pattern, and it goes on in a cyclic fashion without losing its equilibrium. Similarly,sound is ultimately a solitary note. It is not ascending. It is not descending. It is not vertical. Nor is itsinusoidal. It is dynamic. Yet this dynamism defies our general perception. We human beings have lots oflimitations. We are able to perceive only the sounds within the audible frequency. There are notes above andbelow that. We forget them. Man has fragmented this solitary note into seven notes of the octave. Listen to the howl of the dog. Doesn't it have a swara prashta. Sa Re Ga.( Ilaiyaraaja sings and shows the similarity)There is no difference between the howl of the dog and the songs of vidwans. Actually, I have written a scriptin which I have recorded in what raga a dog barks on various occasions. This proves my theory - music isnothing but sound.

FRONTLINE : There are various systems in music - like Carnatic, Hindustani,Western, tribal and folk. Andevery system has its own schools. Which system do you think is the most well developed one?

Ilaiyaraaja : I do not like to make these types of value judgements. The person who assumes the role of ajudge should be extremely well versed in the various systems of music which he com pares. A person who compares and rates Carnatic music higher than light music should know both the systems. But people whodismiss light music here do not know both the systems. Saying Hindustani is superior is superior to Carnatic,and even in Hindustani, Drupad is superior to Thumri or Kayal, opera is superior to symphony, sounds utternonsense. No one knows all the systems of music thoroughly and hence no one is qualified to be a judge.But every one of passes value judgements about one music or the other. Further, to me, at a different level, all these systems and schools appear imaginary.But before going into the value judgements of other musical systems, let us have a look at the attitude of ourown vidwans to wards our own classical music. If a musician sings a particular number very well, with excellent sangathis in the right places and right punctuations, we don't praise him. On the other hand, ourvidwans will say : " Seventeen years ago at the Music Academy, I rendered this number in a much bettermanner. " For me, the past is past ; I am more concerned about what you are going to do. Talking aboutancient glory never makes me happy. Now I am sure that a Thyagaraja Swamigal or a Dhikshitar is not goingto be reborn, for obvious reasons. They just can't live with this generation of musicians who torture music. (laughs).

FRONTLINE : Your notion about music is reflected in your work. The list is endless. Do the producers anddirectors immediately accept your experimentations?

Ilaiyaraaja : Now I am a saleable commodity. Above that, I have a reputation on which the producers anddirectors have faith. My commercial viability, coupled with my reputation, gives me enough freedom to assertmy right as a composer. They have confidence that if I do something, it would somehow reach the widerpublic. But I have the responsibility of proper films for experimentation. I cannot just throw away my labour ina gutter. So selecting producers and directors is my own prerogative.

FRONTLINE : After your entry, we find that for almost all songs, the tune is first set and then the lyric iswritten. Don't you think that you are curtailing the freedom of the lyricist?

Ilaiyaraaja : No. it is not like that. This type of question never arises when one understands the nature of thework. It is team work, where the director decides the situation for which I, as the music director, create musicaccordingly. The function of the lyricist is to write lyrics for that music. That is the demand of the work. If he isnotable to write for the tune, it is his weakness. There is no point in finding fault with me. I am prepared to setthe tune for any poetry. I am sure that i will be able to create a tune, because I know what my job is. As daysprogress, composing seems to become a simple and effortless job, a sort of daily routine. I don't expectothers to praise my daily habit, composing.

FRONTLINE : There is a void in the field of lyric writing. Do you feel it? If so, what are the steps you havetaken to fill it?

Ilaiyaraaja : Yes, I do accept that we don't have a good lyricist after Kavignar Kannadasan. But what can Ido about it?

FRONTLINE : What is your approach to spotting talent in singing?

Ilaiyaraaja : I am convinced that if someone has talent, he will somehow move into limelight. But one cannotgo and search and discover any talent. They have to emerge naturally. Take the example of Chitra. Afterlistening to her once, I made her sing. Earlier, another girl called Jency came for the voice test. I felt that shewas talented and I started giving her a chance right from the next day. But I cannot pressure others bysaying : " Write well ; avoid repetition of words; be spontaneous. " It has to come naturally. Suddenly onegood lyricist will emerge. Till then we must wait. What choice do we have?

FRONTLINE : Are the singers able to cope with you in your experimentation?

Ilaiyaraaja : With some amount of hard work and struggle, I am able to get what I want from the singers. Wehave to compromise at some levels, otherwise the work will never progress. I should be prepared to forgocertain things and the singers should also be prepared to do the same. Since this spirit is there, I am able topull on without much of a problem. We also have enough talented singers.

FRONTLINE : Are the other musicians in your orchestra able to rise to the occasion in playing difficultnumbers?

Ilaiyaraaja : No, there are limitations. I think I have done a lot in film music. And my difficult andexperimental numbers have been received very well. The limitation of instrumentalists is obvious in manyrespects. But that is not a problem for film music. Really, we don't need extremely talented musicians foreveryday recording. However, when you attempt some work for study purposes and other musicalexperiments, the limitation is glaring. We really need more talented musicians for these works. Most of themusicians who play for recording learn music only for their livelihood. The moment something stoops to thelevel of merely earning, you cannot expect much from it.

FRONTLINE : Some producers and directors who reaped the maximum benefit from your music havedeserted you because of your busy schedule. Some people would consider this as an act of betrayal. Howdo you look at it?

Ilaiyaraaja : Is there any place in the world where there is no betrayal? Even our so-called close friends ditchus in life. What can I say about this? Today I am a profitable commodity. People mob me. Some whobenefited from me are going to praise me and the rest, for whom I was not accessible, are going to slanderme. How can I expect them to praise me? I have nothing against any one. I go to Prasad ( studio ) at 7 in themorning and work till 10 in the night. Today is the second Saturday and the whole industry takes rest, but Iam at my work. Despite all these things, I cannot give dates to all of them simultaneously. It is humanly notpossible. To be frank, I am not at all bothered about the people who have left me. I am not going to gain anything nor lose anything. Who are the losers? Who knows?

FRONTLINE : You have thus far scored music for more than 400 films. After all, our films are the same. Areyou planning to avoid film assignments to concentrate on recorded musical ventures like, 'How to name it '?

Ilaiyaraaja : Recorded music is still not a popular concept in our country. Film is the only medium throughwhich one can reach a wider public. At present, it is very difficult to avoid films completely. But I have an ideaon these lines. Just now I have completed my new album, " Nothing but wind'. They will materialise as timeprogresses.

FRONTLINE : The term 'rerecording ' has become popular even among the village folks, thanks to you. (Film background music is referred to as rerecording in industry circles). What special care do you take tomake your background score so different?

Ilaiyaraaja : All the musicians who visit my recording theatre appreciate the speed in which I am able to workand the quality I am able to produce. But I don't find any reason to it. The ideas come automatically to meaccording to the mood of the film. If i don't get any idea, then the film is like that. I have a screening of thefilm the day previous to the recording. The next day, when I am sitting with 60 musicians in the theatre, thereel is screened again. As I view the film, I start eliminating the ideas which others in the profession wouldadopt for the particular situation. I don't even use the instruments which others will use for a particularsequence. Therefore, I have to think fresh. A man settled in life with a secure job approaches life in a casualmanner. But a man for whom most of the chances are closed approaches life with all-out courage and froma new view point, which enables him to achieve a lot more than the former. I am like the latter. That is thereason for the freshness and novelty in my background score.

FRONTLINE : Are you prepared to support new directors who want to make experimental films?

Ilaiyaraaja : Definitely, yes. But before that, what is experiment? I don't understand. Most of the experimentsnever take people into consideration. There cannot be an experiment without people. It is indulgence. I don'tsubscribe to it. People who have listened to my music and studied it will notice that I have popularised thevarious elements of Indian and Western classical music by slightly dilut ing them. A rich harmony is taken toa rickshaw-puller by adding a folk element to it. 'Marimari Ninne' and 'Maha Ganapathim' are popular amongthe villagers not because of any vidwans. They are popular because I have used them in a proper manner.To me, experiment means taking things on a high pedestal to the masses in such a way that they will acceptthem. Other than this, all experiments are a process of fooling oneself and the general public.

FRONTLINE : Who is the composer you like most?

Ilaiyaraaja : Bach. The reason is that he composed music in the formative days of Western classical music.There are three different types of counterpoint among which writing invertible counterpoints is the mostdifficult one. His compositions are so complete with every note falling in the right place with amazingmathematical precision. That is his greatness.

FRONTLINE : Do you think you have the right recognition? Are you happy with your two national awards?

Ilaiyaraaja : I have not been recognised by this Government to which I pay my tax happily. The nationalawards don't mean much. It made no difference to me. The only recognition I have is that South Indiansthroughout the world listen to my music. But this doesn't help me even buy a train ticket on the emergencyquota! I don't have any good quality instruments to record my music. I cannot even get the basicrequirements to function as a musician. This is the recognition I get in my own country.source:

Saturday, March 21, 2009

Right from the days when I had no idea of what a Raaga meant, I was somehow interested in knowing the similarities between the songs and that led me to know more about Raaga. I visit ilayaragam site at least twice in a week as a ready reckoner for knowing Raagas for my favorite numbers.

I salute the work that went behind that webpage, a wealth of information :)

But, I have always wanted to enhance and develop a more easy way to query this data and as a first step, I have developed a simple graphical user interface to select a scale from the keyboard and query for a raaga and know the songs in the particular raaga. This is just a first step and I intend to improve the database as days go by.

Sunday, March 15, 2009

http://thatstamil.oneindia.in/movies/specials/2009/03/15-ilayaraja-is-the-authority-for-indian-film-musi.htmlWith request from Naani, I have tried to translate some portions of the interview of Dr. Balamurali Krsihna about our great maestro, Illayaraja."It is heartening to note that A.R.Rahman has won the Oscar award. At the same time, it is ignorance to downplay other artist's achievement. If a great artist like Illayaraja was not born, Tamil Cinema music would have gone unnoticed. Many such artists have won the award itself and are above the award. Please do not compare these artists with anyone.""Many have asked with me about Rahman's Oscar achievement and I have made my views already. But, the disturbing aspect is that some people have started comparingRahman with Illayaraja and immatured articles floating around. Rahman is a young genius. It is a pride for everyone that he won the Oscar award. But, it is not fair to put other geniuses down and if someone does it, it is not the work of a true music lover."

"No one is the authority in music. But, Illayaraja has been achieving without breaking the grammer of music. He is a great artist who is beyond awards. Honestly speaking,the greatest awards for music across the world should come to Illayaraja now."

"I have understood music across several parts of the world. Have sung in several languages. With that experience, I can say confidently that there is no match to Indian Classical music. And in that form of music, Illayaraja has explored and mastered."

Sunday, March 1, 2009

I was listening to Sakkarakatti - Marudhaani song and recollected what my wife once remarked to me - "Even in the melodious numbers of Rahman, you can find an underlying foot tapping rhythm..And even in the fast foot tapping number of Raaja, you can find an underlying melody.."I can't agree more.